展昭扮演者

在某一所高级中学的毕业班裡有这麼一群学生：有因环境不再升学的，有调皮捣蛋的「顽劣」份子，更有再怎麼念也不可能考上大学的傢伙，学校乾脆把他们统统编在一班施教，此班学业成绩乌鸦鸦，然而体育、康乐方面却是一等一。学校的漠视加上学生近乎自弃的心理，他们无不想尽方法，设计充满喜感的恶作剧来「陷害」老师，因此，来上过课的老师几乎不到一个月便不干了。直到有一天来了一个年轻热诚而又瞭解学生心理的吴老师之后，情形才慢慢改变。贺莲芳是摊贩的女儿，因為经常躲警察而练成一身短跑功夫。她甚至把生意做到学校来，和福利社抢生意。王万福智能稍差，儘管用功过度，眼镜有如酒瓶底，成绩却奇烂无比，他被推选為班长，闹出不少笑话。辛家楨点子奇多，嘴巴会盖，经常是他在兴风作浪。杨文隆有偷窃的怪癖，增添吴老师不少麻烦。王星则是「首领」型的人物，顽劣不驯。李慕尘天资聪慧但家庭问题重重，父亲嗜酒嗜赌，母亲因中风终年躺在床上几乎成了植物人，慕尘除了半工半读还要採草药医治母亲，在百忙之餘，他钟情於在书店当店员不爱讲话的林南施。在耐心和爱心的查访下，吴老师不但知道了慕尘的困境，还发动全班同学去帮助他，為此就得了班上同学的信任，但不久事情发生了，与慕尘渐渐热诚的南施主动在下班之后去照顾慕尘的母亲，却传出了慕尘与南施同居的谣言，虽然在吴老师的追查下瞭解到真象，但学校仍以破坏校誉决定处分慕尘。慕尘的母亲死了！吴老师请辞了！激动的同学们不让他走。校长此时出现，他感动了，把辞职书退还给吴仰贤。慕尘与其他同学在吴仰贤爱心的教养下，个个有如脱胎换骨一般地把恶习都改正了过来。

七岁的德九（郑志薰 饰）与妹妹德熙，一起和爷爷（李顺载 饰）住在一个小村庄。几年前，德九的爸爸因为交通事故过世，备受冲击的妈妈后来也不久于人世。爷爷只能四处打零工，努力扶养两个孙子，但甚至连想给德九买台玩具车都负担不起。当德九将进小学时，爷爷发现自己时日不多，担心年幼 的德九无法照顾自己和妹妹，爷爷准备了最后的礼物要给他两个孙子……

*Shinjuku Mad* was one ofKoji Wakamatsu's six films from 1970. Grim and gritty, stark and steady, burdened with anti-moralizing, generously padded with sex, and totally redeemed by a soundtrack that needs to be released NOW. I knew nothing about this film, loading it up on to my laptop, and every last one of this film's sixty-sixty minutes kept me riveted.Bear with me. The film opens with the band cycling through a jazzy rave-up, the black and images depict dead Japanese throughout a modern city. From the alleyways of the slums, to center of the park, you catch glimpses of bodies everywhere. This introduction is capped off by a lingering shot of a blood-soaked naked woman, face down. By this point, the band has reached a sort of peak. There's a cut, the band changes the direction of the song a bit, and then we're treated to a series of exterior shots from downtown, the lunch hour, maybe. You see a lot of storefronts and stairwells, people moving about. All of the people in these splices are done in negative image.What follows can only be described as harrowing. After the credits, the reel switches to color. We're treated to the on-screen stabbing of a young man in a toga, his attackers strip his special lady-friend of her toga, spend about two minutes smearing her breasts with still-warm blood, and then take turns raping her. She doesn't seem to put up much of a fight. The scene is lensed with all of the enthusiasm of a television spot for a whole foods market.Well, that's a fucked up way to start a movie. If you're still reading, I'll have you know the brutality eases up a little, but the camera's tendency to seek out each scene's more lurid details is relentless. The band never lets up, either. Another constant feature of the film is the protagonist's alienation from society. That's a pretty dated-concept, in a way. This film is cashing in on what could loosely be called the Existential demographic in 1970's Japan. Parts of it could have been written by Oe. Others by Mishima. It definitely, at times, addresses a bit of that lingering air of revolution, but more on that later.The father of the kid stabbed in Technicolor shows up in the nest reel, in the same apartment his son was murdered in. This confused, grieving father asks a totally baked Shoko Asahara for information about the events leading up to his son's death. The long-haired no-goodnik is toking on a Sharpie-sized doobie. He gets so fucking high he passes out and the dad is left there in the empty apartment, getting a major contact-buzz.So, the plot is basically that kind of exchange in larger and larger settings, intercut with glorious shots of the disillusioned father walking through industrial slums. The father, searching for the "Why" to his son's death goes on his quest and pisses just about everyone he comes into contact with off. He goes into subway stations and totally kills some beatniks' buzzes. Then he bullies a Hare Krishna ROCK AND ROLL SUPERSTAR and his belly-dancing percussionist at a park. Then he heads off to a bar, and we're treated to what must have been Tokyo's Greatest Garage Band getting low-down and sleazy here. This scene pretty much sums up what the film is about. As you dig the scuzz and the fuzz, the camera catches all manner of degeneracy and wanton reefer-use. And the bar has no less than three groups of people making out. And they get excessive with the groping.Eventually, the father catches the ringleader of the vicious band of murderer-rapists. "Shinjuku Mad," is his name. After an unbelievably long and convoluted exchange between the protagonist and Shinjuku Mad, it comes out that Mad and the boys are rebelling against all of Japan. It's open season on everyone but them. His son was only a casualty, nothing personal. Their intent is to go on rebelling against society through random acts of violence against people and property.After going through all the trouble of finding Shinjuku Mad, the old man's mind is blown by revolution for revolution's sake. After a few pummellings, he manages to turn the fight around. He winds up leaving with a nude girl that had been tied to a post for the entire scene.He goes back to the apartment his son was murdered in to find his special lady-friend naked with six other dope-smoking cats grooving on free love and blue balls.He decides he's happier with Shinjuku Mad alive and kicking, the band is at another one of its high points, and the camera pans out to the railroad yard, telephones wires, and the bare sides of modern buildings.That was Japan, thirty-seven years ago.

在阿富汗遭受脑损伤的美国士兵琳赛（詹妮弗·劳伦斯 饰）回到新奥尔良老家后，做着一份清理泳池的工作，努力康复并且适应生活。